Complete Idiot's Guide to Independent Filmmaking

ISBN-10: 1592573908

ISBN-13: 9781592573905

Edition: 2005

Authors: Josef Steiff

List price: $18.95
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You ought to be making pictures Designed for people who want to tell a story their way, The Complete Idiots Guide to Independent Filmmakingexplains everything a budding auteur needs to know from literary development and financial and organizational pre-production to principal photography production, post-production assembly, exhibition and distribution, and more. The advent of desktop editing and a wide range of consumer cameras enable the average person to create a film studio at home A great textbook for novice filmmakers, whether film students or on-their- own auteurs The proliferation of film festivals around the world, many of which encourage submissions from amateur filmmakers, shows there are countless filmmakers who arent learning the ropes in school Author has terrific credentials and has a feature-length script in development in Hollywood
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Book details

List price: $18.95
Copyright year: 2005
Publisher: Penguin Publishing Group
Publication date: 8/2/2005
Binding: Paperback
Pages: 384
Size: 7.25" wide x 9.00" long x 1.00" tall
Weight: 1.232
Language: English

You Ought to Be in Pictures: Development
The Rookie: You Too Can Be a Filmmaker
Point and Shoot: What a Filmmaker Does
Product and Process
Guiding Vision
The "Eyes" Have It: Looking and Seeing
The Kitten Experiment
Live a Little
As You're Starting Out...
The Film in Your Head Meets the Film You Can Make
Imitation of Life: Moving Image Basics
Creating the Illusion of Motion
Photographic Medium
Moving Images
It's How You Say It: Modes of Filmmaking
Built to Last: Duration
It's What You Say: Telling Stories
Short Film Stories
Feature Film Stories
Audience Participation
Experience and Engagement
Suspension of Disbelief
The Poseidon Adventure: Let's Make a Movie
All Systems Go: Ways to Make Films
Institutional Filmmaking
Independent Filmmaking
How Most Films Get Made
Exhibition & Distribution
The Elusive Idea: Film Ideas
Write What You Know
Finding Your Point of View
Choosing Ideas and Developing Themes
Why This Film, Why Now?
That's Not the Way It Happened
Writing Visually
Being a "Good Thief"
The Greatest Story Ever Told: Story Elements
Smooth Sailing: The Seven "Cs"
Making a Scene
Keeping in Step: Story Outlines
Something to Talk About: Communicating Your Story
Pen to Page: Script
Master Scene Format
Split Script
Thumbnail Sketch: Logline
Query Letters
Pitching Your Idea
The Picture Writer: Communicating Your Intentions
You Don't Need a Ring for This Proposal
Theme: What's It All About?
Goal: Why Say It Now?
Audience: Who's Listening (and Watching)?
The Doctor Is In: Synopsis and Treatment
Buddy, Can You Spare a Dime? Pre-Production
Take the Money and Run: Paying for Your Film
Pocket Protectors: Investors
Sole Proprietorships
Corporations (C-Corps and S-Corps)
General Partnerships
Limited Partnerships
Limited Liability Companies (LLC)
Creative Fundraising 101
Credit Card and Loan Options
Media and Arts Grants
In-Kind Services
What to Bring to the Table
The Secret Garden: Script Breakdown
Reading the Blueprint: Text Analysis
What You Know, What You Assume
What I Meant to Say: Subtext and Themes
Breaking Down Scenes
Editing or Adding Scenes
The Enchanted Drawing: Pre-Visualization
Subject Size and Shot Scale
Divide and Conquer: Shooting the Scene in Parts
Outlines, Scripts, and Storyboards
A Little Goes a Long Way: Symbols and Metaphors
Strangers in Good Company: Your Crew
Get a Grip: Crew Positions
Finding Good Help
Resumes and Reels
Paying the Piper: Union vs. Non-Union Crew
Letters of Agreement
Skeleton Crew: The Bare Minimum
Big Fish: Your Cast
Wanna Be in a Movie?
Look for the Union Label: SAG and AFTRA
The Audition Process
Getting the Word Out
Using Your Audition Time Productively
Inside the Audition
Getting Written Permission
The Searchers: Location Scouting
The Look and Feel: Essence of Place
Room to Move: Having Enough Space
I Can't Hear You: Sound Considerations
Power Play: Electricity
Green Rooms, Restrooms, and Craft Services Areas
Release Forms and Permits
Making It All Work
Design for Living: Production Design and Art Direction
An Eye for the Details: Production Design
Faking It: Sets
Virtual Sets
Power to the Props
Clothes Make the Character: Costumes
Rushmore: Scheduling Your Film
Timing Your Script
Bits and Pieces: Breaking Down the Script for Production
Juggling Where, When, Who, What
All Work and No Play: A Reasonable Workday
Putting Together a Shooting Schedule
Making Contingency Plans
Hear Ye, Hear Ye: Letting Everyone Know
Money Train: Budgeting Your Film
Lining Up: Above and Below the Line Expenses
Putting Together Your Budget
Big-Ticket Items
Petty-Cash Expenses
Accountability: Keeping Records
Having Enough Money to Bring It Home
Final Destination: Your Shooting Budget
Ready for My Close-Up: Production
The Miracle Worker: Directing
Acting Up
Crewing Up
Who's on First
ADing It All Up
Productive Production Meetings
Calling the Shots
Through a Glass Darkly: Camera and Lens
Machine in a Box: Cameras
Latent Images: Film
Types of Filmstocks
Sensitivity to Light
Intermittent Motion
Magnetic Fields: Analog Video
Ones and Ohs!: Digital Recording
Optic Nerve: Lenses
Visions of Light: Cinematography
Light and Shadows
Qualities of Light
Three-Point Lighting
Qualifying Image
Directing the Eye
Look Like a Pro
The Quiet Earth: Gathering Sound
A World of Sound
Read My Lips: Sync Sound
Rearranging Particles and Turning On or Off
Analog Recording
Digital Recording
Types and Placement of Microphones
Don't Be Afraid of the Wild
Guess Who's Coming to Dinner: Taking Care of the Cast and Crew
The Filmmaker's Responsibilities
The Way to a Crew's Heart: Craft Services
Expressing Your Appreciation
When You Have to Fire a Cast or Crew Member
Don't Worry, We'll Fix It in... Post-Production
Edward Scissorhands: Editing Your Picture
The Final Cut
Linear vs. Non-Linear Editing
Working with a Film Lab
Frame by Frame: The Editing Process
Syncing Rushes
Logging the Footage
Pulling Shots
Paper Edit
Assembly Edit
Rough Cut(s)
Get Feedback
Fine Cut
Continuity Editing Makes the Story Clear
Temporal and Spatial Distortions: Aesthetics of Editing
Sounder: Sound Design
Getting an Earful: The Art of Sound Mixing
Almost Never a Quiet Moment
Mainly on the Plane: Sound Relationships
Make Your Own Kind of Music
Mix Master
Strange Brew: Special Effects
From Here to There: Transitions
Freeze Frame
It's Easy Being Green
Computer Animation and Modeling
Creepy Special Effects on Set
Other Special Effects
Filtering the Image
Slowing Down and Speeding Up
Throwing It in Reverse
Safe: Titles and Credits
Reading Lessons: Text That Can Appear in Films
Setting the Mood: Choosing the Right Font and Size
Choosing the Right Placement
Timing Is Everything: Titles on the Screen
The Conformist: Finishing Up
Choosing a Release Format
Sounding Off
Matching Picture: Conforming and On-Line Editing
Negative Cutting
On-Line Editing
Dense Area: Optical and Digital Tracks
Please Release Me
Shelf Life: Archiving Your Film
And the Winner Is... Exhibition & Distribution
Living in Oblivion: Press Kits and Publicity
Spreading the Word: Press Kits
Snapping It Up: Photos
Frame Enlargements
Production Stills
Say It with Words: Synopses and Names
Most Wanted: Posters
Are Giveaways Worth It?
Just the Facts: Press Releases
Getting to Know You
Everyone's Talking: Reviews
Preview Copies and Screeners
The Conversation: Interviews
Print, Radio, TV, and Chatroom Interviews
Never Too Proud to Beg: Soliciting Interviews
Turning Down Interviews
Prepping for Interviews
The Last Picture Show: Finding an Audience
Getting Your Film on the Screen
Let the Festivities Begin: Film Festivals
Preparing Your Entry for Submission
The Art of Negotiation
Inside a Film Jury
Your New Best Friends: Distributors
Persistence Pays Off
The Graduate: You're a Filmmaker Now
That's a Wrap!
Brave New World of Independent Filmmaking
The World-or at Least Your Next Film-Awaits
Night Is Falling and the Time Is Now
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